The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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SKA - SKY

 

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

S.J. RAFFERTY REEL. Edison 52450 (78 RPM), 1928, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but late taught Baltzell to play the fiddle}.

                       

SKANKLAT FROM DALA-JARNA. Swedish, Gift-giving Tune (4/4 time). D Major. Standard tuning. AABB. Thompson (Fiddler's Almanac), 198‑; pg. 54.

                       

SKARDEN’S HUMOUR. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 88.

X:88

T:Skarden’s Humour

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

G/c/B/A/ G/g/f/e/|d/c/B/A/ BG|G/c/B/A/ G/g/f/e/|f/a/A/^c/ d2:|

|:b/g/e/g/ f/d/A/c/|B/d/B/G/ c/A/F/D/|b/g/e/g/ f/d/A/c/|B/d/A/F/ G2:||

 

SKATER'S WALTZ. American, Waltz. A Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. AABC. Source for notated version: Mark O'Connor and Mosheh Savitsky [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 310-311.

                       

SKELCHER'S MARCH. Scottish, March. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

SKELLEMAFAGO. English, Country Dance Tune. Published in Playford’s English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 40.

                       

SKENE OF SKENE. Scottish, Strathspey. G Major. Standard tuning. AABB. The tune's composition is attributed to "G.S." in the Charles Duff collection of c. 1790. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 32.

X:1

T:Skene of Skene

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:G

D|D<G G>E c>AB>G|G<B B>G F<A A>B|D>GB>G c>AB>G|D>GF>A BGG:|

|:d|g>dB>g d<gB<g|g<dB<g A/A/A ce|g>d B<g d>e d<B|c/B/A/G/ F>A BGG:|

                       

SKERRY FOALIE. Shetland, Shetland Reel. Shetland, Whalsay.

                       

SKIBBEREEN [1]. Irish, Reel. B Minor. Standard. AABB. Not "Skibbereen Lasses." Hardings All Round Collection, 1905; No. 169, pg. 54.

 

SKIBBEREEN [2]. Irish, Air (4/4 time). E Dorian. Standard. One part. The air is used for other songs, including “McAlpine’s Crew.” The first two lines go:

***

O, Father dear, I ofttimes heard you talk of Erin's Isle,
Her valleys green, her lofty scene, her mountains rude and wild;
You said it was a pleasant place wherein a prince might dwell,
Why have you then forsaken her, the reason to me tell?

***
My son, I loved our native land with energy and pride
Until a blight fell on the land and sheep and cattle died,
The rents and taxes were to pay, I could not them redeem,
And that's the cruel reason why I left Old Skibbereen.

***

The song was recorded by the Dubliners.

X:1

T:Skibreen

Q:1/4=96

L:1/8

M:4/4

K:E Dorian

z6 B2 |A3 G A2 B2 |e2 d2 B2 G2 |

A2 G2 E2 D2 |E6 B2 |e3 f g2 f2 |e B3 d2 =c2 |

B2 A2 G2 A2 |B6 B2 |e3 f g3 f |e B3 d2 e2 |

B3 A G2 A2 |B6 B2 |A3 G A2 B2 |e2 d2 B2 G2 |

A2 G2 E2 D2 |E8 |z6 B2 |A3 G A2 B2 |

e2 d2 B2 G2 |A2 G2 E2 D2 |E6 BB |e2 f2 g2 f2 |

e B3 d2 =c2 |B2 A2 G A3 |B6 B2 |e3 f g3 f |

e B3 d2 e2 |B3 A G2 A2 |B6 B2 |A3 G A2 B2 |

e2 d2 B2 G2 |A2 G2 E2 D2 |E8 |]

                       

SKIBBEREEN LASSES, THE ("Na Cailinide Ua Sgioboirin" or "Cailini Sgiobirin"). Irish, Reel. A Mixolydian. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). Source for notated version: Abram Sweetman Beamish, a native of the adjoining parish to that of Caheragh, County Cork, where Francis O’Neill was born. Although O’Neill got seven tunes from Beamish, only the “Fairhaired Boy [1]” and “Tie the Bonnet” were previously known to him despite their common place of origin [O’Neill]. O'Neill (Krassen), 1976; pg. 145. O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 1469, pg. 272. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 698, pg. 123.

X:1

T:Skibbereen Lasses, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 698

Z:AK/Fiddler’s Companion

K:A

e2 cA cdef|=gedc BcdB|e2 cA cdef|=gedB cA A2|e2 cA cdef|=gedc BcdB|cAcd edef|

=gedB cA A2||cAce a2 ef|=gedc BcdB|eA (3AAA a2 ef|=gedB cA A2|cAce a2 ef|

=gedc BcdB|A2 (3Bcd eaaf|=gedB cA A2||

                       

SKIDMORE GUARDS, THE. American, March (6/8 time). D Major ('A' part) & A Major ('B' part): G Major ('A' part) & D Major ('B' part). Standard tuning. AA'B. A "modern" piece, notes Bayard. The Skidmore Guards was a song from a long-running series of routines by the famous variety act Harrigan and Hart, and was originally entitled “The Skids Are Out Today.” According to Brooks McNamara, in his book The New York Concert Saloon: The Devil’s Own Nights (2002, pg. 50) the song was from their The Mulligan Guard’s Chowder and, “with appropriate marching, was a great favorite in concert saloons of the (eighteen) seventies and eighties.” Sources for notated versions: James Smalley (fiddler from Westmoreland County, Pa., 1944; learned from his father, a fiddler and fifer) and Thomas Hoge (fifer from Greene County, Pa., 1947) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 635A‑B, pgs. 559‑560.

X:1

T:Skidmore Guards, The

M:6/8

L:1/8

R:March

S:Bayard – Dance to the Fiddle, March to the Fife (1981)

Z:AK/Fiddler’s Companion

K:D

E | F2A AFA | BAF D2 (AB/c/) | dcd ede | f3d2e/f/ | g2f gfb | afd A2 c/d/ |

e2f e2d |1 [c3e3] [B3e3]{c/B/} :|2 [c3e3][B2e2] (3a^g/f/ |: e2c d2a | f2d f2a |

^gfg efg | a^ga agf | e2c e2a | f2d f2a | ^gfe dcB | [A3e3][A3e3] :|

                       

SKILLET DUBH. Irish. A variant of this melody is “The Enniskilling Dragoon [2].”

                       

SKILLFUL DOCTOR, THE. Irish. An air appearing in Luke Wadding's (The Bishop of Ferns) A Pious Garland of Godly Songs for the Solace of his Friends and Neighbours in their Afflictions, 1680.


 

SKIN THE PEELER(S). AKA and see "The Butterfly [3]," "The Peeler Jig," "Barney's Goat," "Late Home at Night," "Óró, a Thaidhg, a Ghrá." Irish, Slip Jig. G Major. Standard tuning. AABB. A 'peeler' was a slang term for a policeman, derived from the name of the founder of the constabulary force, Sir Robert Peel. The tune is known by this title among Highland bagpipers, although modern Irish fiddlers tend to call it “The Butterfly.” Cole (1000 Fiddle Tunes), 1940; pg. 72. Roche Collection, 1982, vol. 2; No. 255, pg. 24. Ryan’s Mammoth Collection, 1883; pg. 103.

X:1

T:Skin the Peeler

M:9/8

L:1/8

R:Slip Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion
K:G

A | B2d e2f “tr”g3 | A2B d2f (dBA) | B2d e2f “tr”g2a | b2a “tr”g2e (dBA) :|

|: B2A B2A G2A | B2A B2e (dBA) | B2A B2A G2A | B2d e2 f (dBA) :|

 

SKINNBRACKA MÄ LUCKU. Scandinavian, Hambo Tune (3/4 time). D Major. Standard tuning. AA'BB'. Private Collection, A. Kuntz.

X:1

T:Skinnbracka Mä Lucku

M:3/4

L;1/8

R:Hambo

S:”efter Hans Börtas (Rättvik)

K:D

d2F2 G>A|”tr”B2 A4|d2F2 G>A|”tr”B2 A4|g2 (B<g) B>g|f2 (d>f) d>f|

(e>f) (e>d) c>B|(A>B) (A>G F>A| d2F2 G>A|”tr”B2 A4|d2F2 G>A|

”tr”B2 A4|g2 (B<g) B>g|f2 (d>f) a>f|e2 (c>e) a>c|{c}d2 d4:|

|:f2 (f>g) f>e|d2 (d>e) d>c|B2 (G>B) d>B|”tr”B2A4|

e2 (e>f) e>d|c2 (c>d) (c>B)|A2 (A>B) A>G|G2 F4|

f2 (f>g) f>e|d2 (d>e) d>c|B2 (G>B) d>B|”tr”B2A4|

(A>B) (c>d) e>f|g2 (A>c) e>f|g2A2 B>c|{c}d2 d4:||

 

SKIP PARENTI’S JIG. Irish, Jig. Composed by Portland, Oregon, fiddler Skip Parenti, for a time with the band Touchstone.

 

SKIP ROPE. American, Clog. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. It is possible the tune was connected with a variety dance act in which a performer danced a clog while skipping rope.  There were many such hornpipe and clog dance oddities on stage during the 1870’s and 1880’s. Cole (1000 Fiddle Tunes), 1940; pg. 119. Ryan’s Mammoth Collection, 1883; pg. 158.

X:1

T:Skip Rope

M:C

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3a^g=g | (f>.d)(A>.F) D>A,D>F | A>df>b a2 g>f | g>ec>A G>EC>E | G>Ac>e g>ba>g |

f>dA>F D>A,D>F | A>df>b a2 (3a^ga | (3bbb =g>e c>AB>c | d2 [A2f2] [F2d2] :|

K:A

(3cd^d | (3eee =d>B G>Bg>f | (3fff e>c (3Ace b>a | (3ggb (3ffa (3eeg (3ddf | e>ca>f e2 (3cd^d |

(3eee =d>B G>Bg>f | (3fff e>c (3Ace b>a | g>fd>B G>EF>G | A2c2A2 :|

 

SKIP THE WILLER. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Sound like the Irish dance Strip the Willow.

 

SKIP YON WATER WANTONLIE. Scottish. Appears in full in the Guthrie MS. Guthrie was a covenenting minister beheaded in 1661 for publishing a seditious pamphlet; he was probably no lover of dance music, and it may be that some wag sewed the dance collection into the book of his sermons.

 

SKIPPER’S WEDDING, THE. AKA and see “Boy in the Basket,” "The High Road to Dublin [1]."

 

SKIPPIN’ CAT. American, Breakdown or Reel. G Major. Standard tuning. AABB. Composed by one-time Gypsy Gyppo fiddler Jack Link (Seattle, Washington); originally an old-timey tune, it is frequently also heard played by contra dance musicians. The title refers to dried out animal carcasses known as “road kill;” excellent frisbees. Songer (Portland Collection), 1997; pg. 186. Childsplay - “Twelve-gated City” (1992).

 

SKIPPING LAMBS.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 25.

 

SKIPPING THROUGH THE DAISIES (Ag-Foileacd Tri Na Noininib). Irish, Air (6/8 time, "playfully"). D Dorian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 609, pg. 109.

X:1

T:Skipping Through the Daisies

M:6/8

L:1/8

R:Air

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No. 609

Z:AK/Fiddler’s Companion

K:Ddor

d|f2d e2c|{e}dcB A2G|FAd f2d|e<a z z2A|f2d {f}e2c|{e}dcB A2G|FAd age|e<d z z2||

d|A2F A2d|B<G z z2e|c2A c2e|g<fz z2d|A2F Adf|a<gz z3g|fed e2a|f<d z z2||

 

SKIPTON LASSES. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 423.

 

SKIRL OF THE PIPES.  Irish, March (cut time). A Major. Standard tuning. AABB. Composed by Joseph Crofts. Miller (Fiddler’s Throne), 2004; No. 357, pg. 208.

 

SKIVER THE QUILT [1]. AKA and see “Larry Redican’s (Jig),” "The Legacy [2],” "The Tailor's Wedding." Irish, Double Jig.

 

SKIVER THE QUILT [2]. Irish, Jig. A Dorian. Standard tuning. AABB. Not related to versions #1 or #3. Kerr (Merry Melodies), vol. 1; No. 37, pg. 39.

X:1

T:Skiver the Quilt [2]

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 1, pg. 39 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Ador

B/d/|e3 edB|d3 dBd|e3 edB|dBA ABd|e3 edB|

ded def|g3 ege|dBA A2::B|G3 BGB|g3 gab|G3 BGB|

dBA A2B|GAG BGB|g2g gab|agf ege|dBA A2:|

 

SKIVER THE QUILT [3]. American, Jig. A Major ('A' part) & E Dorian ('B' part) {Cole/Ryan}: G Major (‘A’ part) & D Dorian (‘B’ part) {Kennedy}. Standard tuning. AABB. Not related to versions #1 or #2. New York researcher, musician and writer Don Meade says: “Skiver was an inferior leather made from sheep skin, but the title may have been a misprint for Shiver the Quilt, the meaning of which is more easily imagined.” Cole (1000 Fiddle Tunes), 1940; pg. 66. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 170, pg. 40. Ryan’s Mammoth Collection, 1883; pg. 96.

X:1

T:Skiver the Quilt [3]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

f | eAA GAB | Bee Bcd | ecA GAB | BAA A2f |

ecA GAB | Bee Bcd | ecA GAB | cAA A2 :|

K:D

f | e2f {a}gfg | eag fed | e2f {a}gfg | ea^g a2f |

aba a=gf | edB def | gfe fdB | ABc d2 :|

 


SKUNK IN THE COLLARD PATCH. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Greg Canote of the Small Wonder String Band [Phillips/1989]; Jere Canote [Phillips/1994]. Phillips (Fiddlecase Tunebook), 1989; pg. 38. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 223.

 

SKYE AIR, A. Scottish, "Very Slow" Air. E Minor. Standard tuning. AABB. "Very Old" (Gow). Carlin (The Gow Collection), 1986; No. 559. Gow (Complete Repository), Part 3, 1806; pg. 10. MacDonald (The Skye Collection), 1887; pg. 159.

X:1

T:Skye Air, A

M:C

L:1/8

R:Air

S:MacDonald – Skye Collection

Z:AK/Fiddler’s Companion

K:Emin

D<d B>A Bd e2|g>d e2 B>A G2|d<d B>A B>d e2|~G2 (B/A/)G/F/ BE E2|

d<d B>A B>d e2|g>d {d}e2 B>A G2|A>B g2 (g/f/e/^d/) {d}e2|G2 (B/A/)(G/F/) BE E2:|

|:[G2e2] [Ge][F^d] [G2e2] [Ge][F^d]|e>f g2 B>A G2|[A2d2] dB (d2 e2)|
G2 (B/A/)G/F/ BE E2|{D}d2 {e}d>B {D}d2 d>B|(d2 e2) B>A G2|

AB {B}g2 (g/f/)(e/^d/) {d} e2|G2 (B/A/)(G/F/) BE E2:|

 

SKYE BOAT SONG, THE. Scottish, Air (6/8 time). G Major. Standard tuning. ABB. Words to the tune were written by Sir Harold Boulton to an air collected by Miss Annie MacLeod (Lady Wilson) in the 1870's.  It seems that Miss MacLeod was on a trip to the isle of Skye and was being rowed over Loch Coruisk (Coire Uisg, the 'Cauldron of Waters') when the rowers broke out into the Gaelic rowing song "Cuchag nan Craobh" (The Cuckoo in the Grove). A talented composer and singer, MacLeod remembered fragments of the song and fashioned them into an air which she set down in notation with the intentions of using it later in a book she was to co-author with Boulton. Sir Harold joined Miss MacLeod at Roshven House, Invernesshire, soon after to work on their book, by which time the whole group at the residence was humming the "scrap of chanty" collected by her, and he too soon began to work the air around in his imagination. It was he that transformed the words the group had been singing:

***

Row us along, Ronald and John

Over the sea to Roshven

into:

Over the sea to Skye

***

and it was he who wrote additional lyrics in a Jacobite mold, introducing the heroic figures of Bonny Prince Charlie and Flora MacDonald.  As a piece of modern romantic literature with traditional links it succeeded perhaps too well, for soon people began "remembering" they had learned the song in their childhood, and that the words were 'old Gaelic lines'.  In 1893 a publisher, believing the tune to be an ancient traditional air, commissioned a Brechin teacher named Margaret Bean to compose another set of lyrics to it, which gained some popularity.

The song begins:

***

Loud the winds howl, loud the waves roar,

Thunderclaps rend the air,

Baffled our foes stand on the shore,

Follow they will not dare.

Chorus:

Speed bonnie boat, like a bird on the wing,

Onward the sailors cry! 

Carry the lad that is born to be king,

Over the sea to Skye!

While Bean's words go:

Waft him, ye winds, far o'er the sea,

Far from a traitor's eye,

Fly, little boat, that our Prince may be free

Over to loyal Skye.

***

Francis Collinson, in his Traditional and National Music of Scotland, says that "Among a sea going island people like those of the Hebrides, the iorram (pronounced-irram) or rowing songs must have been one of the most frequently heard songs." Many of the songs are written in ¾ or a slow 6/8 time. Stan Reeves remarks “Collinson was puzzled by this as rowing has an in and out movement. But he had obviously never rowed with long oars on the Minch. The 1st beat is very pronounced and corresponds with lifting the oars out and swinging them forward as you straighten your arms and lean forward. 2 and 3 are the pulling stroke. Imagining this when you are playing will give you the right tempo and a very primitive rhythmic chanted feel, rather than the twee parlour interpretations. Try it with ‘Fear a' Bhata!’ or the ‘Skye Boat Song’. These are just two of the many airs used as waltzes in the Western isles which clearly predate the introduction of the waltz.” See also note for "The Castle of Dromore." Kerr (Merry Melodies), vol. 3; No. 410, pg. 45. Silberberg (Tunes I Learned at Tractor Taven), 2002; pg. 145. North Star RS0009, "The Wind in the Rigging: A New England Voyage" (1988).

X:1

T:Skye Boat Song

M:6/8

L:1/8

R:Air

S:Kerr – Merry Melodies, vol. 3, No. 410  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

D>ED G2G|A>BA d3|B>AB E2E|(D3 D2)D|D>ED G>GG|

A>BA d3|B>AB E2E|(D3 D2)d|d>ed g2g|a>ba d’3|b>ab e2e|

(d3 d2)d|d>ed g>gg|a>ba d’3|b>ab e2e|(d3 d2)z||

|:bgb b3|aea a3|geg g2g|(e3 e2)z:|

 

SKYE DANCE. Scottish, Reel. A Dorian. Standard AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 9.

 

SKYE GATHERING, THE. Scottish, March (2/4 time). D Major. Standard. AABB. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 34.

X:1

T:The Skye Gathering

K:D

M:2/4

Z:Transcribed by Nigel Gatherer

L:1/16

B:"Ceol Na Fidhle" Vol.I (Skye 1985)

A>d|f>ed>e f<aA>d|f>gf>e d4|e2e>f g>e>f>d|

e4 A2d>e|f>ed>e f<aA>d|B<GB>d A2g2|f2f<a e>Ae<f|d4 d2:|]

f>g|a>Aa>g f>ed>e|f>Ad>e f4|g>fe>g f>ed>f|

e4 A2f>g|a>Aa>g f>ed>c|B<dB<d A2g2|f2f<a e>Ae<f|d4 d2:|]

 

SKYEMAN'S JIG, THE. Scottish, Jig. A Dorian. Standard tuning. AABB'CCDD'. Composed by D. Johnston. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 39.

 

SKYLAND RAG. Old-Time, Country Rag. F Major. Standard tuning. AAB. Source for notated version: John Rector with The Rector Trio [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 130.

 

SKYLARK [1], THE (An Fhuiseog).  Irish, Reel. D Major (most versions): G Major (Laufman). Standard tuning. AABB (most versions): AA’BB’ (Harker/Rafferty). The melody is often credited to Sligo fiddler James Morrison, who recorded it in 1935 on a 78 RPM record for Columbia (in a medley with “Maude Millar”). The tune bears Morrison’s name as composer on the record. According to Philippe Varlet, he originally played it in the key of C major. Some similarities to “St(e). Anne’s Reel” in the ‘A’ part. The “Skylark” is often played in a medley with “Roaring Mary,” in deference to the famous pairing with that tune by the Kilfenora Ceili Band. Accordion great Joe Cooley played the same medley, with the addition of “Humours of Tulla” as a first tune. Flute player Mike McHale, originally from County Roscommon, played this tune when he won the All-Ireland in 1958. Sources for notated versions: piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; flute player Pat Meehan (b. 1960, Killaraght area, south Sligo) [Flaherty]; “from Gail” [Mulvihill]; John Higgins [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 156, pg. 62. Flaherty (Trip to Sligo), 1990; pg. 104. Harker (300 Tunes from Mike Rafferty), 2005; No. 80, pg. 25. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 35. Mallinson (Essential), 1995; No. 33, pg. 15. Mulvihill (1st Collection), 1986; No. 212, pg. 57. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 4, pg. 2. Peoples (Fifty Irish Fiddle Tunes), 1986; 21. MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000). Philo F12018, "Jean Carignan ‑ Plays the Music of Coleman, Morrison, and Skinner" (appears as one of "Jim Morrison's Reels"). Siobhan Peoples & Murty Ryan – “Time on Our Hands” (played in the key of C).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Skylark, The  [1]

R:reel

C:James Morrison

S:from Gail

Z:TK-MMFCTIM-R-212

M:C|

L:1/8

K:D

f|agfg efdB|AF~F2 DFAd|BG~G2 EFGE|FA~A2 FAdf|   agfg efdB|

AF~F2 DFAd|BGGF G2 ag|(3faf eg fd d:: f|(3aba fd Adfd|(3efg ed cAAf|

(3aba fa bged|Beed efge| ~f3 a ~g2 (ag)|(3fgf ef dBAG|FAdc ~B2 ag|(3faf eg fd d:|

X:2

T:Skylark, The  [1]

M:C|

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:D

agf(g e2) dB|A(~F3 D)(FA)d|B(~G3 EF)GE|FA (3AAA FAdf|

agf(g e2)dB|A(~F3 D)(FA)d|B(GF)G E2 ag|1 (3fga e(g f)d dz:|2

(3fga eg fddf||:(3aba fd Adfd|efe(d c)AAf|a2 fa bged|BeeB efge|

(3fga f(a gf)ge|fde(c d)BAG|FAdB GBag|(3fga eg fd d2:|

 

SKYLARK [2], THE (An Leartog). Irish, Air (3/4 time, "tenderly"). G Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 187, pg. 33.

X:1

T:Skylark, The [2]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 187

Z:AK/Fiddler’s Companion

K:G

BA | G>F FG EC | D4 (3DEF | G3 ABc | A2d2 dB | G>F FG EC |

D4 (3DEF | GB E2 AF | G4 || DD | G3 F G/A/B/c/ | d4 e>d |

dB GA (3Bdc | B2A2 dB | G>F FG EC | D4 (3DEF | GB E2 AF | G4 ||

 

SKYLARK [3], THE. AKA and see “Jackson’s Maid at the Fair [2].” Irish, Jig. G Major. Standard. AABB. Source for notated version: the Pat Dunne manuscript [O’Neill]. Flaherty (Trip to Sligo), 1990; pg. 125 (appears as “Unknown”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 174.

X:1

T:Skylark, The

M:6/8

L:1/8

S:Pat. Dunne manuscript

Z:Paul Kinder

K:G

A/2B/2|cAA eAA|dBG GAB|cAA eAA|dBG A2 B|

cAA ece|dcd GBd|f/2g/2af gfe|dBG A2:|

|:B|def g2 f|edc Bcd|efg aga|bgg e2 f|

gfa gfe|dcd Bcd|cBc age|dBG A2:||

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.